The sexuality of Christ in Renaissance art and in modern oblivion by Leo Steinberg(
Book
)51
editions published
between
1983
and
2006
in
6
languages
and held by
1,898 WorldCat member
libraries
worldwide
"The second edition of The Sexuality of Christ in Renaissance Art and in Modern Oblivion - doubled in size by the addition
of a "Retrospect"--Expands the now classic original text in three directions. It brings in a host of confirming images; deepens
the theological argument; and answers skeptical or scandalized critics who decried the book at its first publication. In its
polemical parts, the book wrestles large issues, such as the validity of interpretations that come without supporting texts,
or the modern pleas that the maleness of Christ be tempered into androgyny. Along the way, the topics engaged range from Christ's
human nature to Dr. Strangelove, from St. Augustine's dismal assessment of babyhood to the aesthetics of the U.S. Post Office."--Jacket

Mary by Sholem Asch(
Book
)11
editions published
between
1949
and
1985
in
English and Undetermined
and held by
1,564 WorldCat member
libraries
worldwide
The story of Mary, the mother of Jesus, from her betrothal to the Resurrection, with details of Christ's life as a child

Leonardo's incessant Last Supper by Leo Steinberg(
Book
)14
editions published
in
2001
in
English
and held by
960 WorldCat member
libraries
worldwide
"A picture universally recognized, endlessly scrutinized and described, incessantly copied, adapted, lampooned: does Leonardo's
near-ruined Last Supper still offer anything new to be seen or to be said: This book is a resounding Yes to both questions.
With direct perception - and with attention paid to the work of earlier scholars and to the criticism embodied in the production
of copyists over the past five hundred years - Steinberg demonstrates that Leonardo's mural has been consistently over-simplified.
This most thought-out picture in Western art, painted in the 1490s on the north wall of the refectory of Santa Maria delle
Grazie, Milan, is a marvel of compressed meanings. Its subject is not one arrested moment, but successiveness and duration.
It is not only Christ's announcement of the forthcoming betrayal, but in equal measure the institution of the eucharist. More
than the spur of the moment animates the disciples, and more than perspective determines their housing. Though Leonardo's
geometry obeys all the rules, it responds as well to Christ's action at center, as if in emanation from the prime mover. The
picture is simultaneously narrative and sacramental. As its protagonist is two-natured, as the twofold event of this night
is both human submission and divine dispensation - so the entire picture is shown to have been conceived in duplexity: a sublime
pun." "Meanwhile, the unending disagreement as to what exactly is represented, what the depicted actions express, how and
where this assembly is seated - all these still raging disputes are traced to a single mistaken assumption: that Leonardo
intended throughout to be unambiguous and clear, and that any one meaning necessarily rules out every other." "As Steinberg
reveals an abundance of significant interrelations previously overlooked, Leonardo's masterpiece regains the freshness of
its initial conception and the power to fascinate."--Jacket

Ashes and fire by Jacob Pat(
Book
)8
editions published
between
1946
and
1987
in
English
and held by
136 WorldCat member
libraries
worldwide

Le retour de Rodin by Leo Steinberg(
Book
)4
editions published
in
1991
in
French
and held by
53 WorldCat member
libraries
worldwide

Encounters with Rauschenberg : (a lavishly illustrated lecture) by Leo Steinberg(
Book
)11
editions published
in
2000
in
English
and held by
24 WorldCat member
libraries
worldwide
"Leo Steinberg is the rare art historian who has known the pressures implicit in reviewing the work of living artists. In
his engrossing lecture, filled with exciting insights and personal memories, he surveys the career of Robert Rauschenberg,
one of the great American postwar artists. Beginning with his own experience as a moonlighting critic in the turbulent art
world of New York in the 1950s and 1960s, he reveals much about himself and more about the insolent originality of the young
Rauschenberg." "Steinberg offers in-depth discussions of such major challenges as the Erased de Kooning Drawing, Bed, and
Monogram. Where his interpretations differ from those of other critics, he shows how, and why. And he reflects candidly on
his own changes of mind over the years." "Steinberg warns against the modish interpretations that now load Rauschenberg's
work with murderous symbolism or same-sex iconography. He argues that meaning in this artist's work is almost unspeakable,
and the novel relationship established between the work and the viewer more subtly intentioned."--Jacket